@@ywfang1276 The full orchestral/vocal score and parts used for this recording were probably never published, but Ye Dong's reconstructions of the Dunhuang Scores have been published in various books and articles. His reconstructions represent an early attempt, but are not accurate or good, and should not be considered reliable interpretations of these 10th-century scores. The orchestral arrangements in this video are even worse. It's a good thing that a truly historically informed tradition of performing music from China's imperial period, using period instruments and tunings, is developing. ● Ye Dong (叶栋). "Dunhuang Qupu Yanjiu"《敦煌曲谱研究》[Research on the Dunhuang Music Scores]. Unknown publisher, 1981. ● Ye Dong (叶栋). "Tangdai Yinyue Yu Gu Pu Yi Du"《唐代音乐与古谱译读》. Xi'an: Shaanxi Sheng Shehui Kexueyuan Chuban Faxing Shi (陕西省社会科学院出版发行室), 1985. ● Ye Dong (叶栋). "Dunhuang Pipa Qupu"《敦煌琵琶曲谱》. Shanghai: Shanghai Wenyi Chubanshe (上海文艺出版社), 1986. ● Ye Dong (叶栋). "Tangdai Gu Pu Yi Du"《唐乐古谱译读》. Shanghai Music Publishing House, 2001.
@@dbadagna listening. It is surely more original sound, lacking modern techniques styles. More Tang and less Central Asia or Arabian influences. Thanks.
@@fenglinxiao Most of those pieces should be very Central Asian in character, keeping in mind that the musics of Central Asia of the Medieval period may not have been exactly equivalent to the Central Asian traditional musics of today.
Please continue to follow this subject; the arrangements in these recordings are not very faithfully or authentically reconstructed. More and better performances will surely follow over the next few years.
NO. 6, 9, 13,15,16,18,19, 23, 24, with vocal shall be skipped to appreciate the decoding of the scores. suggesting to make another recording without vocals on these numbers of scores. ================================================================================= 00:00 - 01. Pin Nong《品弄》 01:43 - 02. Nong《弄》《{头}弄》 03:16 - 03. Qing Bei Yue《倾杯乐》(Tilted Cup Music) 04:47 - 04. You Man Quzi《又慢曲子》 08:12 - 05. You Quzi《又曲子》 10:47 - 06. Ji Quzi《急曲子》(Quick Piece)+vocal========================================= 12:18 - 07. You Quzi《又曲子》 15:19 - 08. You Man Quzi《又慢曲子》 18:50 - 09. Ji Quzi《急曲子》+vocal===================================================== 23:08 - 10. You Man Quzi《又慢曲子》 26:06 - 11. [Untitled] (佚名) 27:06 - 12. Qing Bei Yue《倾杯乐》(Tilted Cup Music) 29:30 - 13. You Man Quzi: Xi Jiang Yue《又慢曲子。西江月》 (Moon Over the Western River)+vocal========================================================================= 35:43 - 14. You Man Quzi《又慢曲子》 37:24 - 15. Man Quzi: Xinshizi《慢曲子。心事子》+vocal====================================== 39:44 - 16. You Man Quzi: Yizhou《又慢曲子。伊州》+vocal=================================== 43:16 - 17. You Ji Quzi《又急曲子》 45:07 - 18. Shui Guzi《水鼓子》+vocal===================================================== 51:04 - 19. Ji Hu Xiangwen《急胡相问》(Quick "The Barbarian Asks")+vocal======================= 57:57 - 20. Changsha Nü Yin《长沙女引》(Prelude: The Lady of Changsha) 1:00-51 - 21. [Untitled] (佚名) 1:03:07 - 22. Sa Jin Sha《撒金沙》 1:04:59 - 23. Ying Fu《营富》+vocal======================================================= 1:06:47 - 24. Yizhou《伊州》 (the former name of Hami in eastern Xinjiang)+vocal==================== 1:09:11 - 25. Shui Guzi《水鼓子》 ====================================================================================
No, I am an ethnomusicologist who studies and plays Chinese music near Cleveland, Ohio, USA. I found the tracks on various Tudou pages, then combined them into one track.
Thank u！！i like these music. People always think chinese ancient music has been preserved in Japan or korea.As a chinese i fell really sorry about that.so i am very happy to find these music here. I hope you don't mind my poor English.
These arrangements are unfortunately very inauthentically done, but I think there is space for better performances in the future. It's interesting that the Dunhuang scores, though preserved in northwest China, were deciphered using the pipa tablature system that is preserved in Japan, which is virtually identical.
There are several points of deviation from the music as it originally existed at the time these tablatures were written down. The first is instrumentation. The instruments used in these recordings are those of modern Chinese "minyue" or "guoyue," which have been modified significantly from the original instruments used in the Tang Dynasty. The instrumentation of Tang-era court music is well documented. Another is the question of aesthetics. The aesthetic of these arrangements is that of post-1949 modern Chinese "guoyue," which is highly Europeanized in many respects. This includes the manner of orchestration, using very large ensembles modeled on the European symphony orchestra, as well as a vibrato-heavy vocal style closely modeled on the European bel canto operatic style of the late 19th and 20th centuries. Finally, because these reconstructions were made before Professor Chen Yingshi published his more authoritative versions in 2005, the reconstructions can themselves be regarded as substandard, the rhythmic values indicated by the rhythmic symbols in the tablatures not yet having been deciphered. If you are serious about pursuing knowledge about the true nature of these pieces, this is the source you will want to acquire: ● Chen Yingshi 陈应时. Dunhuang Yuepu Jieyi Bianzheng 敦煌乐谱解译辨证 [A Dialectical Investigation of the Interpretation/Deciphering/Decoding of the Dunhuang Scores]. Shanghai: Shanghai Yinyue Xueyuan Chu Ban She 上海音乐学院出版社, 2005.
You might be able to find a few better performances of Dunhuang pieces in this annotated playlist I created recently: th-cam.com/play/PLm8mLM41EccCqytD8VuwCffd6cj_1NaX2.html
The Dunhuang Scores are indeed instrumental parts for 4-string bent-neck pipa (曲项琵琶), but yanyue (banquet music) of the Tang period was usually performed in daqu (大曲) format. This means the Dunhuang pipa scores can be considered not scores to be heard as pipa solos, but pipa parts that would usually have been performed as part of an ensemble (including heng di, bili, sheng, 13-string zheng, percussion, and sometimes other instruments including shu konghou or fangsiang), with some pieces accompanying vocals and/or dance. As such, it would have been natural to pair certain pieces with matching lyrics, and, in the case of pieces from the Dunhuang Scores, I believe "Yizhou" was paired with a poem entitled "Yizhou Ge" by the famous Tang poet Wang Wei, and "Xi Jiang Yue" with an anonymous Tang poem that was found among the other literary materials discovered in the Library Cave (Mogao Cave 17 near Dunhuang).
It's a good question, and the question of the pipa's right-hand technique is discussed in Laurence Picken's 7-volume "Music from the Tang Court" series. Around the 8th century in both China and Japan (where there also existed many avid pipa players), a transition was made between the playing of the pipa with a large plectrum and playing it with the fingers, but I don't know whether it is documented that a 5-finger tremolo technique was used at that time. Perhaps a "yao"-type tremolo similar to that used in the playing of the nanguan pipa was used. But it is possible that the "lun" technique (at least using all five fingers) is not a very old one; in fact, I think only four fingers were normally used prior to the mid-20th century. There may be clues about this in Tang-era musical treatises as well as Tang poems. But I really don't think tremolos are indicated in any Tang-era pipa score; that wasn't the normal function of the instrument, which usually had only four frets and was played mostly in the low register, often using octaves, and sometimes using chords. If you use Facebook, you could ask the musicologist Mr. Lin Chiang-san (林江山), who might have some ideas, or post to the "Traditional Chinese Music" group. facebook.com/groups/traditionalchinesemusic/
Using mandarin to recite the 6th/9th piece is a total failure. The tones and variations of mandarin is so different from the official language of Tang dynasty and hence the consonants cannot rhyme and synchronize perfectly with the music. Classical hokkien or Japanese Toin/Go-on would have been a better choice. And the PIpa used sounds like northern styled pipa rather than the southern styled pipa, as depicted in the paintings.
dbadagna frotle009 oh yes that will be amazing. Are you aware of another recording which does that? I did also think that the mandarin bit was slightly out of place, would be perfect if it can be redone using Middle Chinese.
Classical Hokkien is not spoken in Tang either, and Japanese preserved even less Tang sound than Vietnamese. It's not like Middle Chinese isn't reconstructable. It's reconstructed, and no modern dialect can say they are closer to it. Using 文读 is especially ridiculous, because they are modified modern dialect so they fit rime dictionaries, and Classical Mandarin is just as close to Middle Chinese as all the other 文读. No more modern dialects, use reconstructed Middle Chinese. If you think modern Mandarin is miserable, so is all the other modern dialects. Why not go all the way?
I don't know what the lyrics are. They are not contained in the original scores, which are instrumental only (tablatures for the 4-string bent-neck pipa).
Chen Yingshi did a great job with his reconstructions of the Dunhuang scores, but his work can be improved in one regard: the dots (、) in the original scores probably don't always represent offbeats, as he believed was the case, but instead represent upward (retroflex) strokes of the plectrum, as is also the case in the earliest Sino-Japanese lute manuscripts.
![Buddhist Music of the Ming Dynasty: Chuí sī diào [垂丝调]](http://i.ytimg.com/vi/HET7q0xfnlY/mqdefault.jpg)
![Buddhist Music of the Ming Dynasty: Chuí sī diào [垂丝调]](/img/tr.png)
More information about these recordings:
商品名称
敦煌古乐CD 敦煌曲谱 敦煌琵琶古曲 席臻贯
《敦煌古乐全集》绝版CD，本店独家配唱词，还送PDF格式电子版乐谱。
乐曲的由来：
1900年，敦煌藏经洞出土乐谱一卷，记录唐代至五代琵琶曲25首，称为《敦煌曲谱》。记谱符号似日文假名，因为没有人知道如何解译，被誉为“天书”。
20世纪80年代，音乐研究家叶栋首次对25首乐曲全部进行解译，并著书《敦煌曲谱》1部，记录乐谱和解译过程，中国唱片总公司邀请琵琶演奏家叶绪然根据乐谱，录成独奏唱片（本店也有叶栋解译版的录音，如果需要请单独咨询）。
20世纪90年代，甘肃敦煌艺术剧院院长、著名音乐学者席臻贯受到叶栋解译版的启发，通过对敦煌舞蹈的研究，解决了《敦煌曲谱》的节律、音位问题，他所译的乐谱能视，能唱，能舞，25首乐曲分别被改编成11首民乐合奏曲，9首配词演唱曲，5首琵琶独奏曲，由中央民族乐团、上海民族乐团两大乐团演奏，刘文金、黄晓飞、瞿春泉指挥，吴玉霞、姜嘉锵、李元华、单秀荣、翟宪力等担任独奏和独唱，成就了你现在看到的这张珍贵CD。
敦煌古乐
定谱：席臻贯(1941-1994)
演奏：中央民族乐团、上海民族乐团
指挥：刘文金、黄晓飞、瞿春泉
琵琶独奏：吴玉霞
演唱：姜嘉锵、李元华、单秀荣、翟宪力等
Do you know where to purchase the pdf of the music score of this recording? Thank you!
@@ywfang1276 The full orchestral/vocal score and parts used for this recording were probably never published, but Ye Dong's reconstructions of the Dunhuang Scores have been published in various books and articles. His reconstructions represent an early attempt, but are not accurate or good, and should not be considered reliable interpretations of these 10th-century scores. The orchestral arrangements in this video are even worse. It's a good thing that a truly historically informed tradition of performing music from China's imperial period, using period instruments and tunings, is developing.
● Ye Dong (叶栋). "Dunhuang Qupu Yanjiu"《敦煌曲谱研究》[Research on the Dunhuang Music Scores]. Unknown publisher, 1981.
● Ye Dong (叶栋). "Tangdai Yinyue Yu Gu Pu Yi Du"《唐代音乐与古谱译读》. Xi'an: Shaanxi Sheng Shehui Kexueyuan Chuban Faxing Shi (陕西省社会科学院出版发行室), 1985.
● Ye Dong (叶栋). "Dunhuang Pipa Qupu"《敦煌琵琶曲谱》. Shanghai: Shanghai Wenyi Chubanshe (上海文艺出版社), 1986.
● Ye Dong (叶栋). "Tangdai Gu Pu Yi Du"《唐乐古谱译读》. Shanghai Music Publishing House, 2001.
@@dbadagna Good to know the links listed.
太美了，想著50年解譯過程的艱辛，讓我們可以聽到1000年前的音樂，心裏好震撼，真是聽的眼淚都快掉下來了。謝謝分享。
是啊！
聽著有現代國樂的色彩。。真的是考證出來的古樂嗎？
太了不起了，这远古的乐章，听得我如痴如醉！非常伟大的作品，让我梦回大唐，真正领略了地道的唐风唐韵。
I don't think most of the reconstructions on this recording are very authentic.
极度优美, 极度艺术, 音阶上满满的当时东西音乐文化的融合, 太牛了. 大开眼界
For even more authentic reconstructions of Tang Dynasty music, I recommend these:
www.youtube.com/@dbadagna/search?query=mannlichkeit
@@dbadagna listening. It is surely more original sound, lacking modern techniques styles. More Tang and less Central Asia or Arabian influences. Thanks.
@@fenglinxiao Most of those pieces should be very Central Asian in character, keeping in mind that the musics of Central Asia of the Medieval period may not have been exactly equivalent to the Central Asian traditional musics of today.
这些歌曲古朴而庄严肃穆，十分具有古代中国的色彩。一个字：赞！
Please continue to follow this subject; the arrangements in these recordings are not very faithfully or authentically reconstructed. More and better performances will surely follow over the next few years.
NO. 6, 9, 13,15,16,18,19, 23, 24, with vocal shall be skipped to appreciate the decoding of the scores.
suggesting to make another recording without vocals on these numbers of scores.
=================================================================================
00:00 - 01. Pin Nong《品弄》
01:43 - 02. Nong《弄》《{头}弄》
03:16 - 03. Qing Bei Yue《倾杯乐》(Tilted Cup Music)
04:47 - 04. You Man Quzi《又慢曲子》
08:12 - 05. You Quzi《又曲子》
10:47 - 06. Ji Quzi《急曲子》(Quick Piece)+vocal=========================================
12:18 - 07. You Quzi《又曲子》
15:19 - 08. You Man Quzi《又慢曲子》
18:50 - 09. Ji Quzi《急曲子》+vocal=====================================================
23:08 - 10. You Man Quzi《又慢曲子》
26:06 - 11. [Untitled] (佚名)
27:06 - 12. Qing Bei Yue《倾杯乐》(Tilted Cup Music)
29:30 - 13. You Man Quzi: Xi Jiang Yue《又慢曲子。西江月》 (Moon Over the Western River)+vocal=========================================================================
35:43 - 14. You Man Quzi《又慢曲子》
37:24 - 15. Man Quzi: Xinshizi《慢曲子。心事子》+vocal======================================
39:44 - 16. You Man Quzi: Yizhou《又慢曲子。伊州》+vocal===================================
43:16 - 17. You Ji Quzi《又急曲子》
45:07 - 18. Shui Guzi《水鼓子》+vocal=====================================================
51:04 - 19. Ji Hu Xiangwen《急胡相问》(Quick "The Barbarian Asks")+vocal=======================
57:57 - 20. Changsha Nü Yin《长沙女引》(Prelude: The Lady of Changsha)
1:00-51 - 21. [Untitled] (佚名)
1:03:07 - 22. Sa Jin Sha《撒金沙》
1:04:59 - 23. Ying Fu《营富》+vocal=======================================================
1:06:47 - 24. Yizhou《伊州》 (the former name of Hami in eastern Xinjiang)+vocal====================
1:09:11 - 25. Shui Guzi《水鼓子》
====================================================================================
Great!!
美哉矣也!
乐曲的由来：
1900 年，敦煌藏经洞出土乐谱一卷，记录唐代至五代琵琶曲 25 首，称为《敦煌曲谱》。记谱符号似日文假名，因为没有人知道如何解译，被誉为 “天书”。
20 世纪 80 年代，音乐研究家叶栋首次对 25 首乐曲全部进行解译，并著书《敦煌曲谱》1 部，记录乐谱和解译过程，中国唱片总公司邀请琵琶演奏家叶绪然根据乐谱，录成独奏唱片
20 世纪 90 年代，甘肃敦煌艺术剧院院长、著名音乐学者席臻贯受到叶栋解译版的启发，通过对敦煌舞蹈的研究，解决了《敦煌曲谱》的节律、音位问题，他所译的乐谱能视，能唱，能舞，25 首乐曲分别被改编成 11 首民乐合奏曲，9 首配词演唱曲，5 首琵琶独奏曲，由中央民族乐团、上海民族乐团两大乐团演奏，刘文金、黄晓飞、瞿春泉指挥，吴玉霞、姜嘉锵、李元华、单秀荣、翟宪力等担任独奏和独唱，成就了你现在看到的这张珍贵 CD。
The same information is contained in the pinned post, which I posted 3 years ago.
可以！很符合时代背景！！！祖先的音乐鉴赏力比我想象中高太多了……我以为律调会偏单调或者柔美流水那种.....也许我们未必做的出这种音乐！给祖先磕头了🙇♂️🙇♂️🙇♂️🙇♂️🙇♂️🙇♂️🙇♂️🙇♂️🙇♂️🙇♂️……
很喜欢,如果可以分割成25首单曲更好了.
我不会这样做。我已经花了时间来记录每乐曲的分钟和秒数。
interesting
攻书学剑，能几何😭
Could you please tell us about any channel where we can find solo performance of these pieces or one recorded by china record corporation
Yes, you can try this TH-cam playlist:
th-cam.com/play/PLRwFqpaZwFLw-QvmZqt-43cde54KPHYO4.html
现在已经不用的篦篥也出现了
Bili 筚篥 is an essential instrument for Tang entertainment music. I agree that not using it in these recordings is a serious oversight.
Are you chinese？where did you find these music？
No, I am an ethnomusicologist who studies and plays Chinese music near Cleveland, Ohio, USA. I found the tracks on various Tudou pages, then combined them into one track.
Thank u！！i like these music. People always think chinese ancient music has been preserved in Japan or korea.As a chinese i fell really sorry about that.so i am very happy to find these music here.
I hope you don't mind my poor English.
These arrangements are unfortunately very inauthentically done, but I think there is space for better performances in the future. It's interesting that the Dunhuang scores, though preserved in northwest China, were deciphered using the pipa tablature system that is preserved in Japan, which is virtually identical.
3:22
What about it?
Dbadagna you keep saying this recording is not authentic, but what are the justification of you saying so?
There are several points of deviation from the music as it originally existed at the time these tablatures were written down.
The first is instrumentation. The instruments used in these recordings are those of modern Chinese "minyue" or "guoyue," which have been modified significantly from the original instruments used in the Tang Dynasty. The instrumentation of Tang-era court music is well documented.
Another is the question of aesthetics. The aesthetic of these arrangements is that of post-1949 modern Chinese "guoyue," which is highly Europeanized in many respects. This includes the manner of orchestration, using very large ensembles modeled on the European symphony orchestra, as well as a vibrato-heavy vocal style closely modeled on the European bel canto operatic style of the late 19th and 20th centuries.
Finally, because these reconstructions were made before Professor Chen Yingshi published his more authoritative versions in 2005, the reconstructions can themselves be regarded as substandard, the rhythmic values indicated by the rhythmic symbols in the tablatures not yet having been deciphered.
If you are serious about pursuing knowledge about the true nature of these pieces, this is the source you will want to acquire:
● Chen Yingshi 陈应时. Dunhuang Yuepu Jieyi Bianzheng 敦煌乐谱解译辨证 [A Dialectical Investigation of the Interpretation/Deciphering/Decoding of the Dunhuang Scores]. Shanghai: Shanghai Yinyue Xueyuan Chu Ban She 上海音乐学院出版社, 2005.
You might be able to find a few better performances of Dunhuang pieces in this annotated playlist I created recently:
th-cam.com/play/PLm8mLM41EccCqytD8VuwCffd6cj_1NaX2.html
為甚麼有人唱歌的部分？還以為是純音樂。
The Dunhuang Scores are indeed instrumental parts for 4-string bent-neck pipa (曲项琵琶), but yanyue (banquet music) of the Tang period was usually performed in daqu (大曲) format. This means the Dunhuang pipa scores can be considered not scores to be heard as pipa solos, but pipa parts that would usually have been performed as part of an ensemble (including heng di, bili, sheng, 13-string zheng, percussion, and sometimes other instruments including shu konghou or fangsiang), with some pieces accompanying vocals and/or dance. As such, it would have been natural to pair certain pieces with matching lyrics, and, in the case of pieces from the Dunhuang Scores, I believe "Yizhou" was paired with a poem entitled "Yizhou Ge" by the famous Tang poet Wang Wei, and "Xi Jiang Yue" with an anonymous Tang poem that was found among the other literary materials discovered in the Library Cave (Mogao Cave 17 near Dunhuang).
古代也有人呀！ 称为古人。
里面的语言演唱使用了现代汉语读音，而非古汉语读音，不过也很难考究当时的语音。
一路不打野。。。。
復原樂曲中琵琶大量使用輪指，很好聽。請問是為動聽考量配上嗎？讀過資料載~唐琵琶並不常用輪指，仍常用撥子?或是有資料唐五代已多用輪指呢?謝謝
It's a good question, and the question of the pipa's right-hand technique is discussed in Laurence Picken's 7-volume "Music from the Tang Court" series. Around the 8th century in both China and Japan (where there also existed many avid pipa players), a transition was made between the playing of the pipa with a large plectrum and playing it with the fingers, but I don't know whether it is documented that a 5-finger tremolo technique was used at that time. Perhaps a "yao"-type tremolo similar to that used in the playing of the nanguan pipa was used. But it is possible that the "lun" technique (at least using all five fingers) is not a very old one; in fact, I think only four fingers were normally used prior to the mid-20th century.
There may be clues about this in Tang-era musical treatises as well as Tang poems. But I really don't think tremolos are indicated in any Tang-era pipa score; that wasn't the normal function of the instrument, which usually had only four frets and was played mostly in the low register, often using octaves, and sometimes using chords.
If you use Facebook, you could ask the musicologist Mr. Lin Chiang-san (林江山), who might have some ideas, or post to the "Traditional Chinese Music" group.
facebook.com/groups/traditionalchinesemusic/
@@dbadagna Thank you very much 😊 繼續追尋答案
这个好难的.....
原曲是古代的，但技法不是，而且明显也经过编曲改造，重新打磨了，这种做法我不觉得谓之曰“复原”，因为无论是音律、还是技法，都是不同时空诞生的。
唐五弦用拨子演奏，品也少，更适合伴奏，隔壁日本的琵琶传承在一定程度上可以反应这个现象。而贞观时呢，已经出现用手指演奏的伶人了，用得是四弦琵琶。
@@tb3uq my grandpa translated this:)
Using mandarin to recite the 6th/9th piece is a total failure. The tones and variations of mandarin is so different from the official language of Tang dynasty and hence the consonants cannot rhyme and synchronize perfectly with the music. Classical hokkien or Japanese Toin/Go-on would have been a better choice. And the PIpa used sounds like northern styled pipa rather than the southern styled pipa, as depicted in the paintings.
It's possible to use reconstructed Middle Chinese as well.
another dumbass ...
dbadagna frotle009 oh yes that will be amazing. Are you aware of another recording which does that? I did also think that the mandarin bit was slightly out of place, would be perfect if it can be redone using Middle Chinese.
Classical Hokkien is not spoken in Tang either, and Japanese preserved even less Tang sound than Vietnamese. It's not like Middle Chinese isn't reconstructable. It's reconstructed, and no modern dialect can say they are closer to it. Using 文读 is especially ridiculous, because they are modified modern dialect so they fit rime dictionaries, and Classical Mandarin is just as close to Middle Chinese as all the other 文读. No more modern dialects, use reconstructed Middle Chinese. If you think modern Mandarin is miserable, so is all the other modern dialects. Why not go all the way?
9；40 是勋吧？很忧伤😔
I cannot understand your question. Can you clarify?
dbadagna It doesn’t matter, not inpatient, I just guessed 9:40 is Chinese Xun music Instrument , which sounds very touching !
You'd better spell xun "埙" (not "勋"), then. Yes, that is undoubtedly a xun you are hearing.
9首不是特别听的懂副歌歌词，
I don't know what the lyrics are. They are not contained in the original scores, which are instrumental only (tablatures for the 4-string bent-neck pipa).
敦煌乐谱是琵琶谱 乱加乐器。。。而且一点也不严肃，学界认为陈应时对乐谱的破译要准确的多，日本人有复原演奏。。。。完全不是一个风格，这个像秧歌调。
Chen Yingshi did a great job with his reconstructions of the Dunhuang scores, but his work can be improved in one regard: the dots (、) in the original scores probably don't always represent offbeats, as he believed was the case, but instead represent upward (retroflex) strokes of the plectrum, as is also the case in the earliest Sino-Japanese lute manuscripts.
如果歌詞改成閩南語就更好了